sonicwfandomcom-20200216-history
Spirited Away
| director = Sofia Coppola | producer = Francis Ford Coppola Julie Costanzo Chris Hanley Dan Halsted | writer = Sofia Coppola Linda Woolverton Hayao Miyazaki | starring = | music = Basil Poledouris | cinematography = Atsushi Okui | editing = Takeshi Seyama | studio = Castle Rock Entertainment Village Roadshow Pictures NVP Entertainment Studio Ghibli American Zoetrope Pictures Muse Productions Eternity Pictures | distributor = Universal Pictures (North America) Warner Bros. Pictures (International) Toho (Japan) | released = | runtime = 125 minutes | country = Japan | language = Japanese | budget = * ($15–19 million) }} | gross = * }} |}} is a 2001 Japanese animated coming-of-age fantasy film. It was written by Linda Woolverton, Sofia Coppola and Hayao Miyazaki, directed by Sofia Coppola, animated by Studio Ghibli for Tokuma Shoten, Nippon Television Network, Dentsu, Buena Vista Home Entertainment, Tohokushinsha Film and Mitsubishi, produced by Castle Rock Entertainment, Village Roadshow Pictures and American Zoetrope Pictures and distributed by Universal Pictures in North America, Warner Bros. Pictures in International and Toho in Japan."Sen To Chihiro No Kamikakushi". http://www.bcdb.com, 13 May 2012 The film stars Rumi Hiiragi, Miyu Irino, Mari Natsuki, Takeshi Naito, Yasuko Sawaguchi, Tsunehiko Kamijō, Takehiko Ono, and Bunta Sugawara. ''Spirited Away tells the story of Chihiro Ogino (Hiiragi), a moody 10-year-old girl who, while moving to a new neighbourhood, enters the world of Kami (spirits) of Japanese Shinto folklore.Shinto Perspectives in Miyazaki's Anime Film "Spirited Away ", Shinto Perspectives in Miyazaki's Anime Film, "Spirited Away", Volume 8, James W. Boyd, Tetsuya Nishimura, Issue 3 October 2004 After her parents are transformed into pigs by the witch Yubaba (Natsuki), Chihiro takes a job working in Yubaba's bathhouse to find a way to free herself and her parents and return to the human world. Miyazaki wrote the script after he decided the film would be based on the 10-year-old daughter of his friend, associate producer Seiji Okuda, who came to visit his house each summer. Interview with Toshio Suzuki At the time, Miyazaki was developing two personal projects, but they were rejected. With a budget of US $19 million, production of Spirited Away began in 2000. Pixar director John Lasseter, who is a fan and friend of Miyazaki, convinced Warner Bros. Pictures (in International) and Universal Pictures to buy the film's North American distribution rights, and served as the executive producer of its English dubbed version. Lasseter hired Kirk Wise as director and Donald W. Ernst as producer of the adaptation. Screenwriters Cindy Davis Hewitt and Donald H. Hewitt wrote the English language dialogue to match the characters' original Japanese language lip movements. The film was originally released in Japan on 20 July 2001 by distributor Toho. It became the most successful film in Japanese history, grossing over worldwide. The film overtook Titanic (the top-grossing film worldwide at the time) in the Japanese box office to become the highest-grossing film in Japanese history with a total of . Spirited Away received universal acclaim and is frequently ranked among the greatest animated films ever made. It won the Academy Award for Best Animated Feature at the 75th Academy Awards, making it the first (and so far only) hand-drawn and non-English-language animated film to win that award. It was the co-recipient of the Golden Bear at the 2002 Berlin International Film Festival (shared with Bloody Sunday) and is in the top 10 on the British Film Institute's list of "Top 50 films for children up to the age of 14"."Watch This: Top fifty films for children up to the age of 14". Archived 25 May 2012. In 2016, it was voted the fourth-best film of the 21st century as picked by 177 film critics from around the world, making it the highest-ranking animated film on the list. It was also named the second "Best Film of the 21st Century So Far" in 2017 by the New York Times. Plot Ten-year-old Chihiro Ogino and her parents are traveling to their new home when her father takes a shortcut. They enter what appears to be an abandoned amusement park that Chihiro's father insists on exploring. Finding a seemingly empty restaurant stall stocked with food, Chihiro's parents begin to devour the food greedily. While exploring, Chihiro finds an exquisite bathhouse and meets a young boy named Haku who warns her to return across the river before sunset. However, Chihiro discovers too late that her parents have turned into pigs and she is unable to cross the flooded river. Haku finds Chihiro and has her ask for a job from the bathhouse's boiler-man, Kamaji, a yōkai commanding the susuwatari. Kamaji refuses to hire her and asks the worker Lin to send Chihiro to Yubaba, the witch who runs the bathhouse. Yubaba tries to frighten Chihiro away, but she persists, so Yubaba gives Chihiro a contract to work for her. Yubaba takes away her name and renames her . While visiting her parents' pigpen, Haku gives Sen her goodbye card addressed to Chihiro and realizes that she has already forgotten her name. Haku warns her that Yubaba controls people by taking their names, and that if she forgets hers like he has forgotten his, she will not be able to leave the spirit world. Sen faces discrimination from the other workers because she is still a human and not a spirit; only Haku and Lin show sympathy for her. While working, she invites a silent masked creature named No-Face inside, believing him to be a customer. A "stink spirit" arrives as Sen's first customer, and she discovers he is the spirit of a polluted river. In gratitude for cleaning him, he gives Sen a magic emetic dumpling. Meanwhile, No-Face imitates the gold left behind by the stink spirit and tempts a worker with gold, then swallows him. He demands food and begins tipping extensively. He swallows two more workers when they interfered with his conversation with Sen, who walked away. Sen discovers paper Shikigami attacking a Japanese dragon and recognizes the dragon as Haku transformed. When a grievously injured Haku crashes into Yubaba's penthouse, Sen follows him upstairs. A shikigami that stowed away on her back transforms into Zeniba, Yubaba's twin sister. She transforms Yubaba's baby son Boh into a mouse, creates a decoy baby and turns Yubaba's harpy into a tiny, fly-like bird. Zeniba tells Sen that Haku has stolen a magic golden seal from her, and warns Sen that it carries a deadly curse. Haku attacks the shikigami which eliminates Zeniba's hologram. He falls into the boiler room with Sen and Boh on his back, where Sen feeds him part of the dumpling with which she had intended to give her parents, causing him to vomit both the seal and a black slug, which Sen crushes with her foot. With Haku unconscious, Sen resolves to return the seal and apologize for Haku. Sen confronts No-Face, who is now massive, and feeds him the rest of the dumpling. No-Face chases Sen out of the bathhouse, steadily regurgitating everything he has eaten. Sen, No-Face, and Boh travel to see Zeniba with the train tickets given to her by Kamaji. Yubaba orders that Sen's parents be slaughtered, but Haku reveals that Boh is missing and offers to retrieve him if Yubaba releases Sen and her parents. Yubaba agrees, but only if Sen can pass a final test. Sen, No-Face and Boh meet with Zeniba, who reveals that Sen's love for Haku broke her curse and that Yubaba used the black slug to control Haku. Haku appears at Zeniba's home in his dragon form and flies Sen and Boh to the bathhouse. No-Face decides to stay behind and become Zeniba's spinner. In mid-flight, Sen recalls falling in her youth into the Kohaku River and being washed safely ashore, correctly guessing Haku's real identity as the spirit of the Kohaku River. When they arrive at the bathhouse, Yubaba forces Sen to identify her parents from among a group of pigs in order to break their curse. After Sen answers correctly, her contract combusts and she is given back her real name. Haku takes her to the now dry riverbed and vows to meet her again. Chihiro crosses the riverbed to her restored parents, who do not remember anything. They quietly walk back to their car, which is now covered in dust and leaves. Before getting in, Chihiro takes a last look back at the dark tunnel she came through. Cast }/Foreman || lit. "reception desk frog" | Yō Ōizumi || Rodger Bumpass |- | (Baby) || Ryūnosuke Kamiki || Tara Strong |- | , Chihiro's father || Takashi Naitō || Michael Chiklis |- | , Chihiro's mother || Yasuko Sawaguchi || Lauren Holly |- | || Koba Hayashi || Jim Ward |- | || Ken Yasuda || Jack Angel |} Production Development and inspiration Every summer, Hayao Miyazaki spent his vacation at a mountain cabin with his family and five girls who were friends of the family. The idea for Spirited Away came about when he wanted to make a film for these friends. Miyazaki had previously directed films for small children and teenagers such as My Neighbor Totoro and Kiki's Delivery Service, but he had not created a film for 10-year-old girls. For inspiration, he read shōjo manga magazines like Nakayoshi and Ribon the girls had left at the cabin, but felt they only offered subjects on "crushes" and romance. When looking at his young friends, Miyazaki felt this was not what they "held dear in their hearts" and decided to produce the film about a girl heroine whom they could look up to instead.Miyazaki on Spirited Away // Interviews // . Nausicaa.net (11 July 2001). used shōjo manga magazines for inspiration to direct Spirited Away.]] Miyazaki had wanted to produce a new film for years, but his two previous proposals (one based on the Japanese book Kiri no Mukō no Fushigi na Machi ( ) by Sachiko Kashiwaba, and another about a teenage heroine) were rejected. Miyazaki's third proposal, which ended up becoming Sen and Chihiro Spirited Away, was more successful. The three stories revolved around a bathhouse that was inspired by one in Miyazaki's hometown. Miyazaki thought the bathhouse was a mysterious place, and there was a small door next to one of the bathtubs in the bathhouse. Miyazaki was always curious to what was behind it, and he made up several stories about it, one of which inspired the bathhouse setting of Spirited Away. Production of Spirited Away commenced in 2000 on a budget of ¥1.9 billion ($15 million). Warner Bros. and Universal invested 10% of the cost for the right of first refusal for American distribution. As with Princess Mononoke, Miyazaki and the Studio Ghibli staff experimented with computer animation. With the use of more computers and programs such as Softimage 3D, the staff learned the software, but used the technology carefully so that it enhanced the story, instead of 'stealing the show'. Each character was mostly hand-drawn, with Miyazaki working alongside his animators to see they were getting it just right.The Making of Hayao Miyazaki's "Spirited Away" – Part 1 . Jimhillmedia.com. The biggest difficulty in making the film was to reduce its length. When production started, Miyazaki realized it would be more than three hours long if he made it according to his plot. He had to delete many scenes from the story, and tried to reduce the "eye-candy" in the film because he wanted it to be simple. Miyazaki did not want to make the hero a "pretty girl." At the beginning, he was frustrated at how she looked "dull" and thought, "She isn't cute. Isn't there something we can do?" As the film neared the end, however, he was relieved to feel "she will be a charming woman." Miyazaki based some of the buildings in the spirit world on the buildings in the real-life Edo-Tokyo Open Air Architectural Museum in Koganei, Tokyo, Japan. He often visited the museum for inspiration while working on the film. Miyazaki had always been interested in the Pseudo-Western style buildings from the Meiji period that were available there. The museum made Miyazaki feel nostalgic, "especially when I stand here alone in the evening, near closing time, and the sun is setting – tears well up in my eyes." Another major inspiration was the Notoya Ryokan ( ), a traditional Japanese inn located in Yamagata Prefecture, famous for its exquisite architecture and ornamental features. While some guidebooks and articles claim that the old gold town of Jiufen in Taiwan served as an inspirational model for the film, Miyazaki has denied this. The Dōgo Onsen is also often said to be a key inspiration for the Spirited Away onsen/bathhouse.Dogo Onsen japan-guide.com Music and soundtrack The film score of Spirited Away was composed and conducted by Basil Poledouris with the additional music by Zoë Poledouris, Don L. Harper, Kenneth Burgomaster and Nick Glennie-Smith, and performed by the London Symphony Orchestra and Metro Voices. The soundtrack received awards at the 56th Mainichi Film Competition Award for Best Music, the Tokyo International Anime Fair 2001 Best Music Award in the Theater Movie category, and the 17th Japan Gold Disk Award for Animation Album of the Year. Later, Hisaishi added lyrics to "One Summer's Day" and named the new version which was performed by Ayaka Hirahara. The closing song, was written and performed by Youmi Kimura, a composer and lyre-player from Osaka. The lyrics were written by Kimura's friend Wakako Kaku. The song was intended to be used for , a different Miyazaki film which was never released. In the special features of the Japanese DVD, Hayao Miyazaki explains how the song in fact inspired him to create Spirited Away. The song itself would be recognized as Gold at the 43rd Japan Record Awards. Besides the original soundtrack, there is also an image album, titled , that contains 10 tracks. English adaptation Both Warner Bros. Pictures, Universal Pictures and DreamWorks bid for the US distribution rights. Eventually, Warner Bros. and Universal won the rights to dub the English adaptation of Spirited Away, under the supervision of Pixar animator John Lasseter. A Miyazaki fan, Lasseter would sit with his staff and watch Miyazaki and Coppola's work when encountering story problems, and at one point they did so with Spirited Away, which impressed Lasseter. Upon hearing his reaction to the film, people at Warner Bros. and Universal asked Lasseter if he would be interested in trying to bring Spirited Away to an American audience. Lasseter agreed to be the executive producer for English adaptation. Soon, several others began to join the project: Beauty and the Beast co-director Kirk Wise and Aladdin co-producer Donald W. Ernst joined Lasseter as director and producer of Spirited Away respectively.The Making of Hayao Miyazaki's "Spirited Away" – Part 3 . Jimhillmedia.com. Cindy Davis Hewitt and Donald H. Hewitt penned the English language dialogue, which they wrote to match the characters' original Japanese language lip movements. The cast of the film consisted of Daveigh Chase, Jason Marsden, Susan Egan, David Ogden Stiers, and John Ratzenberger from Pixar. Advertising was limited, and Spirited Away was only mentioned in a small scrolling section of their film page on Warner Bros.' official website. Warner Bros. and Universal had sidelined their official website for Spirited Away, and given the film a comparatively small promotional budget. Marc Hairston argues that this was a justified response to Ghibli's retention of the merchandising rights to the film and characters, which limited Warner Bros. and Universal's ability to properly market the film. Themes The themes of the film are heavily influenced by Japanese Shinto-Buddhist folklore. The central location of the film is a Japanese bathhouse where a great variety of Japanese folklore creatures, including kami, come to bathe. Miyazaki cites the solstice rituals when villagers call forth their local kami and invite them into their baths. Chihiro also encounters kami of animals and plants. Miyazaki says of this: "In my grandparents' time, it was believed that kami existed everywhere – in trees, rivers, insects, wells, anything. My generation does not believe this, but I like the idea that we should all treasure everything because spirits might exist there, and we should treasure everything because there is a kind of life to everything." The film has been compared to Lewis Carroll's Alice's Adventures in Wonderland as the stories have some elements in common such being set in a fantasy world, the plots including a disturbance in logic and stability, and there being motifs such as food having transformational qualities; though developments and themes are not shared. Among other stories compared to Spirited Away, The Wonderful Wizard of Oz is seen to be more closely linked thematically. The major themes of Spirited Away center on the protagonist Chihiro and her liminal journey through the realm of spirits. The archetypal entrance into another world demarcates Chihiro's status as one somewhere between child and adult. Chihiro also stands outside societal boundaries in the supernatural setting. The use of the word kamikakushi (literally "hidden by gods") within the Japanese title, and its associated folklore, reinforces this liminal passage: "Kamikakushi is a verdict of 'social death' in this world, and coming back to this world from Kamikakushi meant 'social resurrection.'"Reider, Noriko T. "Spirited Away: Film of the Fantastic and Evolving Japanese Folk Symbols." Film Criticism 29.3: 4–27. Academic OneFile. Gale. 11 February 2009. Yubaba has many similarities to The Coachman from Pinocchio, in the sense that she transforms humans into pigs in a similar way that the boys of Pleasure Island were transformed into donkeys. Upon gaining employment at the bathhouse, Yubaba's seizure of Chihiro's true name symbolically kills the child,Satoshi, Ando. "Regaining Continuity with the Past: Spirited Away and Alice's Adventures in Wonderland." Bookbird 46.1: 23–29. Project MUSE. 11 February 2009 http://muse.jhu.edu/journals/bookbird/v046/46.1.satoshi.pdf . who must then assume adulthood. She then undergoes a rite of passage according to the monomyth format; to recover continuity with her past, Chihiro must create a new identity. Along with its function within the ostensible coming of age theme, Yubaba's act of taking Chihiro's name and replacing it with Sen (an alternate reading of "chi", the first character in Chihiro's name – lit. "one thousand"), is symbolic of capitalism's single-minded concern with value, reflecting the film's exploration of capitalism and its effect on traditional Japanese culture.Napier, Susan J. "Matter Out of Place: Carnival, Containment and Cultural Recovery in Miyazaki's Spirited Away." Journal of Japanese Studies 32.2: 287–310. Project MUSE. 11 February 2009 http://muse.jhu.edu/journals/journal_of_japanese_studies/v032/32.2napier.pdf. Yubaba is stylistically unique within the bathhouse, wearing Western dress and living among European décor and furnishings, in contrast with the minimalist Japanese style of her employee's quarters, representing the Western capitalist influence over Japan in its Meiji period and beyond. The Meiji design of the abandoned theme park is the setting for Chihiro's parents' transformation - the family arrives in an imported Audi car and the father wears a European style polo shirt, reassuring Chihiro that he has "credit cards and cash", before their morphing into literal consumerist pigs. Spirited Away contains critical commentary on modern Japanese society concerning generational conflicts and environmental issues. Chihiro has been seen as a representation of the shōjo, whose roles and ideology had changed dramatically since post-war Japan. Miyazaki has stated: }} Just as Chihiro seeks her past identity, Japan, in its anxiety over the economic downturn occurring during the release of the film in 2001, sought to reconnect to past values. In an interview, Miyazaki has commented on this nostalgic element for an old Japan. However, the bathhouse of the spirits cannot be seen as a place free of ambiguity and darkness.Thrupkaew, Noy. "Animation Sensation: Why Japan's Magical Spirited Away Plays Well Anywhere." American Prospect 13.19: 32–33. Academic OneFile. Gale. 11 February 2009. Many of the employees are rude to Chihiro because she is human, and corruption is ever-present; it is a place of excess and greed, as depicted in the initial appearance of the No-Face.Harris, Timothy. "Seized by the Gods." Quadrant 47.9: 64–67. Academic OneFile. Gale. 11 February 2009. In stark contrast to the simplicity of Chihiro's journey and transformation is the constant chaotic carnival in the background. There are two major instances of allusions to environmental issues within the movie. The first is seen when Chihiro is dealing with the "stink spirit." The stink spirit was actually a river spirit, but it was so corrupted with filth that one couldn't tell what it was at first glance. It only became clean again when Chihiro pulled out a huge amount of trash, including car tires, garbage, and a bicycle. This alludes to human pollution of the environment, and how people can carelessly toss away things without thinking of the consequences and of where the trash will go. The second allusion is seen in Haku himself. Haku does not remember his name and lost his past, which is why he is stuck at the bathhouse. Eventually, Chihiro remembers that he used to be the spirit of the Kohaku River, which was destroyed and replaced with apartments. Because of humans' need for development, they destroyed a part of nature, causing Haku to lose his home and identity. This can be compared to deforestation and desertification; humans tear down nature, cause imbalance in the ecosystem, and demolish animals' homes to satisfy their want for more space (housing, malls, stores, etc.) but don't think about how it can affect other living things. Additional themes are expressed through the No-Face, who reflects the characters which surround him, learning by example and taking the traits of whomever he consumes. This nature results in No-Face's monstrous rampage through the bath house. After Chihiro saves No-Face with the emetic dumpling, he becomes timid once more. At the end of the film, Zeniba decides to take care of No-Face so he can develop without the negative influence of the bathhouse. Release Box office and theatrical release Spirited Away was released theatrically in Japan on 20 July 2001 by distributor Toho, grossing ¥30.4 billion to become the highest-grossing film in Japanese history, according to the Motion Picture Producers Association of Japan. Its gross at the Japanese box office later increased to . It was also the first film to earn $200 million at the worldwide box office before opening in the United States. The film was dubbed into English by Warner Bros. Pictures and Universal Pictures, under the supervision of Pixar's John Lasseter. The dubbed version premiered at the Toronto International Film Festival on 7 September 2002 and was later released in North America on 20 September 2002. Spirited Away had very little marketing, less than Warner Bros. and Universal's other B-films, with at most, 151 theaters showing the film in 2002. After the 2003 Oscars, it expanded to as many as 714 theaters. The film grossed US$4 million in its opening weekend and ultimately grossed around $10 million by September 2003. Outside of Japan and the United States, the movie was moderately successful in both South Korea and France where it grossed $11 million and $6 million, respectively. In Argentina, it is in the top 10 anime films with the most tickets sold. About 18 years after its original release in Japan, Spirited Away had a theatrical release in China on 21 June 2019. It follows the theatrical China release of My Neighbour Totoro in December 2018. The delayed theatrical release in China was due to long-standing political tensions between China and Japan, but many Chinese became familiar with Miyazaki's films due to rampant video piracy. It topped the Chinese box office with a opening weekend, beating Toy Story 4 in China. In its second weekend, Spirited Away grossed a cumulative in China, and was second only behind Spider-Man: Far From Home that weekend. , the film has grossed in China, bringing its worldwide total box office to over . ( |long=no}}) *China – *Outside of Japan and China – $41,368,351 **United States and Canada – $12,427,717 (30 October 2018) **South Korea – $11,382,770 (15 August 2002) **France – $6,326,294 (26 June 2002) **Other territories – |long=no}} }} Home media Spirited Away was first released on VHS and DVD format in Japan by Warner Bros. Entertainment Japan on 19 July 2002. The Japanese DVD releases includes storyboards for the film and the special edition includes a Ghibli DVD player. Spirited Away sold 5.5 million home video units in Japan by 2007, and currently holds the record for most home video copies sold of all-time in Japan. In North America, the film was released on DVD and VHS formats by Universal Studios Home Entertainment on 15 April 2003. The attention brought by the Oscar win resulted in the film becoming a strong seller. The bonus features include Japanese trailers, a making-of documentary which originally aired on Nippon Television, interviews with the North American voice actors, a select storyboard-to-scene comparison and The Art of Spirited Away, a documentary narrated by actor Jason Marsden. The film was released nationwide in the UK by Optimum Releasing on 12 September 2003. and was later released on DVD and VHS as a rental release through independent distributor High Fliers Films PLC after the film was released to theaters. It was later officially released on DVD in the UK on 29 March 2004, with the distribution being done by Optimum Releasing themselves. In 2006, it was re-released as part of Optimum's "The Studio Ghibli Collection" range. The film was released on Blu-ray format in Japan and the UK in 2014, and was released in North America on 16 June 2015. GKIDS re-issued the film on Blu-ray and DVD on 17 October 2017. Reception Critical response On review aggregator Rotten Tomatoes, the film holds a 97% approval rating based on 185 reviews, with an average rating of 8.62/10. The website's critics consensus reads, "Spirited Away is a dazzling, enchanting, and gorgeously drawn fairy tale that will leave viewers a little more curious and fascinated by the world around them." Metacritic, which uses a weighted average, assigned the film a score of 96 out of 100 based on 41 critics, indicating "universal acclaim". Roger Ebert of the Chicago Sun-Times gave the film a full four stars, praising the film and Miyazaki's direction. Ebert also said that Spirited Away was one of "the year's best films." Elvis Mitchell of The New York Times positively reviewed the film and praised the animation sequences. Mitchell also drew a favorable comparison to Lewis Carroll's Through the Looking-Glass and also said that his movies are about "moodiness as mood" and the characters "heightens the film's tension." Derek Elley of Variety said that Spirited Away "can be enjoyed by sprigs and adults alike" and praised the animation and music. Kenneth Turan of the Los Angeles Times praised the voice acting and said the film is the "product of a fierce and fearless imagination whose creations are unlike anything a person has seen before". Turan also praised Miyazaki's direction. Orlando Sentinel's critic Jay Boyar also praised Miyazaki's direction and said the film is "the perfect choice for a child who has moved into a new home." In 2010, Rotten Tomatoes ranked Spirited Away as the 13th-best animated film on the site, and later in 2012 as the 17th. In 2004, Cinefantastique listed the anime as one of the "10 Essential Animations". In 2005, it was ranked as the 12th-best animated film of all time by IGN. The film is also ranked No. 9 of the highest-rated movies of all time on Metacritic, being the highest rated traditionally animated film on the site. The film ranked number 10 in [[Empire (film magazine)|''Empire magazine]]'s "The 100 Best Films of World Cinema"'' in 2010. In his book Otaku, Hiroki Azuma observed: "Between 2001 and 2007, the otaku forms and markets quite rapidly won social recognition in Japan", and cites Miyazaki's win at the Academy Awards for Spirited Away among his examples. Accolades See also * 2000s in film * Isekai * List of films considered the best * List of highest-grossing anime films * List of highest-grossing films in Japan * Noppera-bō: Japanese "no-face" spirit Notes References Further reading * * * * * * *Andrew Yang, "The Two Japans of ‘Spirited Away’", International Journal of Comic Art, vol. 12, no 1, 2010, pp. 435-452. *Ayumi Suzuki, "A nightmare of capitalist Japan: Spirited Away", Jump Cut, A Review of Contemporary Media, no 51, 2009 *James W. Boyd and Tetsuya Nishimura, "Shinto Perspectives in Miyazaki's Anime Film "Spirited Away"", The Journal of Religion and Film, vol. 8, no 2, October 2004. * * * * * * * * * * External links * * * * * * * * * [http://www.jmdb.ne.jp/2001/dy002010.htm Spirited Away] at the Japanese Movie Database * 75th Academy Awards Winners | Oscar Legacy | Academy of Motion Picture Arts and Sciences }} Category:2001 anime films Category:2000s fantasy films Category:Animated coming-of-age films Category:Anime with original screenplays Category:Annie Award winners Category:Best Animated Feature Academy Award winners Category:Best Animated Feature Annie Award winners Category:Best Animated Feature Broadcast Film Critics Association Award winners Category:2000s children's animated films Category:2000s children's fantasy films Category:Coming-of-age anime and manga Category:Fiction about curses Category:Fantasy anime and manga Category:Films about abduction Category:Films about curses Category:Films about families Category:Films about shapeshifting Category:Films about witchcraft Category:Films directed by Hayao Miyazaki Category:Films featuring anthropomorphic characters Category:Films scored by Joe Hisaishi Category:Films set in the 2000s Category:Films set in Japan Category:Golden Bear winners Category:Japanese animated fantasy films Category:Japanese coming-of-age films Category:Japanese fantasy adventure films Category:Japanese films Category:Japanese ghost films Category:Japanese mythology in anime and manga Category:Films about parallel universes Category:Picture of the Year Japan Academy Prize winners Category:Studio Ghibli animated films Category:Toho animated films Category:Toho films Category:Yōkai in popular culture Category:Animated films about dragons Category:2000s coming-of-age films Category:Isekai anime and manga Category:Films produced by Francis Ford Coppola Category:Films directed by Sofia Coppola Category:Films with screenplays by Linda Woolverton Category:Films with screenplays by Sofia Coppola Category:Film scores by Basil Poledouris Category:Film scores by Zoë Poledouris Category:Film scores by Kenneth Burgomaster Category:Film scores by Don L. Harper Category:Film scores by Nick Glennie-Smith